File:Dike Blair to want to 2005.jpg

Sculpture by Dike Blair, to want to (Painted wood, carpet, rubber mat, fluorescent fixtures, vinyl, Duratrans, 22" (h) x 150" (w) x 92" (d), 2005). The image illustrates Dike Blair's longstanding body of installation-like sculptures assembled from common objects, which date back to the mid-1990s. In this work, Blair carefully manipulates elements such as electrical cords unfurling like lines across color-fields of industrial carpet, Plexiglas and plywood, lightboxes, shipping crates and lamps, seeking a balance in which objects retain their specificity yet read together as singular works; reviews have described them as calming, mysterious and melancholic domestic tableaux. Earlier sculptures (such as this one) examine themes involving atmosphere, designed space and consumer culture, while his post-2006 works take up phenomenological issues relating to the body. This series of work has been publicly exhibited in prominent venues, discussed widely in national art and daily press publications, and collected by major art institutions.

Artist Dike Blair. Copyright held by the artist.

Dike Blair

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a longstanding body of work in Dike Blair's career dating back to the mid-1990s: his installation-like sculptures assembled from common objects, which draw on elements of Minimalism, conceptual art, contemporary corporate and domestic design, and Japanese flower arrangement (ikebana) rules. Created over two decades, these décor-like works compress installation-work elements of light, material, color and image into discrete, hybrid sculptures that evoke interiors, furniture, drawing, architecture, landscapes and the human body. They explore themes involving atmosphere, designed space and consumer culture, and phenomenological issues relating to the body, such as ocular versus corporeal experience of images, objects and space. Because the article is about an artist and her work, the omission of the image would significantly limit a reader's understanding and ability to visualize a fundamental body of work, which brought him wide recognition from art journals, daily press publications, and museums. Blair's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Dike Blair, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.